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Assessment of Older Adults with Diminished Capacity: A Handbook for Lawyers
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Assessment of Older Adults with Diminished Capacity: A Handbook for Lawyers
Sponsoring Entities:
ABA Commission on Law and Aging and the American Psychological Association
Product Code:
Publication Date:
April 2005
Page Count:
Trim Size:
8½ x 11 - Paperback
Sponsoring Entities:
Commission on Law and Aging
Elder Law
Estate Planning
Family Law
General Practice
Other Formats:
(ABA Member) ABA Members,
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About the Book
With the coming demographic avalanche as the Boomers reach their 60s and the over-80 population swells, lawyers face a growing challenge: older clients with problems in decision-making capacity.
While most older adults will not have impaired capacity, some will. Obvious dementias impair decision-making capacity -- but what about older adults with an early stage of dementia or with mild central nervous system damage? Such clients may have subtle decisional problems and questionable judgments troubling to a lawyer.
Assessment of Older Adults with Diminished Capacity: A Handbook for Lawyers
offers elder law attorneys, trusts and estates lawyers, family lawyers, and general practitioners a conceptual framework and a practical system for addressing problems of client capacity, in some cases with help from a clinician.
This handbook represents a unique collaboration of lawyers and psychologists. It offers ideas for effective practices and makes suggestions for attorneys who wish to balance the competing goals of autonomy and protection as they confront the difficult challenges of working with older adults with diminished capacity.
About the Authors
The mission of the
American Bar Association (ABA) Commission on Law and Aging
is to strengthen and secure the legal rights, dignity, autonomy, quality of life, and quality of care of elders. It carries out this mission through research, policy development, technical assistance, advocacy, education, and training.
The ABA Commission consists of a 15-member interdisciplinary body of experts in aging and law, including lawyers, judges, health and social services professionals, academics, and advocates. With its professional staff, the ABA Commission examines a wide range of law-related issues, including: legal services to older persons; health and long-term care; housing needs; professional ethical issues; Social Security, Medicare, Medicaid, and other public benefit programs; planning for incapacity; guardianship; elder abuse; health care decision-making; pain management and end-of-life care; dispute resolution; and court-related needs of older persons with disabilities.
American Psychological Association (APA)
is the largest scientific and professional organization representing psychology in the United States and is the world's largest association of psychologists. Through its divisions in 53 subfields of psychology and affiliations with 59 state, territorial, and Canadian provincial associations, APA works to advance psychology as a science, as a profession, and as a means of promoting health, education, and human welfare. The APA Office on Aging coordinates the association's activities pertaining to aging and geropsychology (the field within psychology devoted to older adult issues). The Committee on Aging (CONA) is the committee within the APA governance structure dedicated to aging issues. Its six expert geropsychologists are selected for three-year terms. Together, the Office on Aging, CONA, and association members promote the health and wellbeing of older adults and their families through expanded scientific understanding of adult development and aging and the delivery of appropriate psychological services to older adults.
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American Bar Association | 321 N. Clark St. | Chicago, IL 60654 | 800.285.2221 |
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I grew up in the suburbs of Lynchburg, Virginia which, in itself sounds somewhat strange in that, compared to the major metropolitan areas I have spent most of my adult life Dallas, TX and Washington, DC; to consider Lynchburg a metropolitan area that; with its somewhere south of 100,000 in population tips the sales considerably smaller that places such as Herndon/Reston or Garland, what would be considered more true "suburbs" as generally understood in metro areas of over 6 million in total population.
Growing up in Lynchburg was insulating in ways I would never understand until, later in life having traveled on business to much of Europe and key population centers of Hong Kong, Seoul, and Tokyo, perspective gained from such eye opening excursions, new found appreciation was gained for just what the expression "not knowing what I didn't know" truly meant.
And so I found myself, accompanied by my fiancé and life partner, traveling back towards Northern Virginia from the wonderful paradise that is Smith Mountain Lake, to our home in what I routinely called "occupied territory" not a stones throw from where, Jeb Stuart telegraphed Abraham Lincoln complaining of the poor quality of mules he had just "liberated" from the Union Army at nearby Burke Station. Seeing the picturesque Peaks of Otter's unmistakable profile situated against the skyline as we made our way on Router 132 toward the city of Liberty, better known today by its non-colonial name of Bedford, I suggested we stop at the National D-Day memorial knowing as I had that, despite the fact I had pointed out it's 44' granite arch from the 460 bypass on other recent trips along the way, she had never seen the actual memorial and, knowing her abiding support for our military and the sacrifice of its members, she would find it a most appropriate venue to commemorate (my Civil War professor Bud Robinson educating me that we do not celebrate acts of war but commemorate the valor and sacrifice) Memorial Day 2010.
I had been there before. Shortly after its dedication in 2001 where my mother had accompanied my aunt along with representatives of the Allied Nations of 1944 along with numerous politicians headed by WWII veteran President George Bush, both Grande dames having recently buried their WWII veteran husbands my Uncle having the distinction of having spent June 6, 1944 in the hell that was Omaha Beach.
I can say with confidence that I like what they have done with the place. While impressive and thought provoking in 2001, today the evidence of the beautiful landscaping, moving plaques that document the contributions of the various units the 156,000 participants of Operation Overlord were members of, and the absolute professionalism the mainly volunteer staff bring to this most unique and solemn tribute; recall the valor and sacrifice with a sublime understatement that seems appropiriate for such a memorial. We signed up for the guided tour, having arrived just a few minutes before the scheduled 2:30 time slot despite my initial reluctance seeing how I usually like to proceed at my own pace and, based on the amount of reading and study I have done over the years, consider myself well educated in the events of June 6, 1944 and, with amazing conceit, wonder on just what fact some tour guide could enlighten me in any event.
How wrong I was.
You see despite my knowledge of the events and times, units and their leaders, and all the myriad of facts and figures I can proudly recite guaranteeing any trivia contest I find myself a contestant in will have me hoping the topic of the winning question will be D Day, I had forgotten or simply refused to acknowledge that it is the human stories that bring the remarkable events into a perspective most appropriate for any day, but perhaps most relevant on Memorial Day.
Our host proudly proclaimed he was a D Day son; his father having been there that day and, with a long career with the US Army, had also served in Korea. After a commendable tour in summary at the "Victory Arch" he relayed how, taking his father to the memorial on the occasion of its dedication he learned the answer to the unanswered question his father had always deflected when asked, on numerous occasions, by his curious son growing up. The basic question was, his father having survived the carnage of Omaha Beach, was "How did you make it across that beach, Dad?"
The answer was always some version of "It was hell and you don't want to know about it…" the son having learned through the years that some demons are best left untouched.
It was on the occasion of the dedication, a dedication that almost never happened and would not have save a chance encounter between then President Bill Clinton and Bob Slaughter, a veteran of the 116th Infantry Regiment who, its companies made up of National Guard units from the environs of Bedford, had suffered the highest percentage of KIA on D Day of any town in America on that fateful day. Bob Slaughter was in Normandy on the occasion of the 50th anniversary of D Day when he was asked by the President to accompany him in placing flowers on the graves of the fallen. The ensuing news converge and live interviews that resulted of Bob gave him the chance he had been waiting for to issue the call for a Memorial, on the lines the Vietnam Memorial in Washington, DC, to commemorate the sacrifice of those who died on June 6, 1944 in Normandy. That the outflowing of support that resulted was responsible for my being able to walk among the beautiful gardens and granite tributes was a result of that fateful encounter from a member of the 116th Regiment and the President. That I was to understand the events better was the result of a chance encounter that occurred at its dedication in 2001. My tour guide's father , being escorted by his son, was accosted by a man from Pennsylvania who, some 57 years earlier just a couple of days after D Day, had managed to hook up with my guided father in Normandy and, as fate would have it, serve beside him until the end of hostilities in Europe. My guide saw the old comrades in arms hug each other and brushing back tears borne in long remembrance, heard his father asked, and gained in his response, the answer to the question he had long wanted to know but had been unable to coax an answer from his stoic father. "How did you make it across that beach alive, Bob?" came the question from is former comrade. The answer came thus" "for the last two hundred yards I crawled from dead body to dead body somehow reaching the base of the hills". To the son this was transformational as our guide, his voice choking with emotion, relayed how he had gained a peek into the pure hell his father and thousands of other fathers endured that day.
At the memorial there are a series of arched walls, low set with engraved names in no particular order of the 4,000 plus who died, not in the Normandy Campaign, but on the very day itself mainly on the beaches. The story is told of two twin brothers, members of the 116th from Bedford, who agreed to meet at a certain crossroads to shake hands after crossing the beaches, the older refusing to shake the younger's hand prior to loading on the separate Higgins Boats which would convey them to shore. The handshake never occurred the younger being killed on the beaches his body washing out to sea never to be recovered with only his bible being found washed ashore in the aftermath and returned to his family as the only personal effect they ever received to remind them of their loss.
Bob Slaughter told our guide personally and showed him the copy of the speech Eisenhower gave to all the Allied participants in the invasion on its eve – the "Great Crusade" speech that is so often highlighted on commemorations of the event. In Bob's case his was special having been signed individually by all 36 men who were to load in the Higgins Boat that Bob was assigned. Of the 36 names 21 died on the beaches. Our guide related how Bob in recalling the event some 60 years later could recite in all but two cases exactly the circumstances and place that each had died.
It was sobering to visit so beautiful as setting yet at the same timed filled me with pride and gratitude for the blessing of being born an American.
Memorial Day was about a fun and relaxing three day weekend at the lake. But just over an hour spent walking the grounds and hearing the stories made all the more real the sacrifices made and being made by the members of our Armed Forces. May I never fail to remember and do all I can to educate those who have not had the privilege of learning just what Memorial Day is all about.
What most probably don't realize is the the National D Day Memorial is a private endeavor and its non-profit foundation suffers financial turmoil such that the continued operation is in peril. Should you be so inclined a contribution would be considered a worthy cause by any who believe that the education of future generations of the words and deeds of its past is essential to maintaining the fabric of our nation.
More information on the Memorial can be found here.
More on Bob Slaughter and the men of the 116th can be found here.

subset: commoncrawl


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2012-W Infantry Soldier $1 Silver Commemorative - MS-70 PCGS (FS)
We provide all our customers with a refund, return and/or exchange policy on everything we sell including all bullion and certified coins. If for any reason you have a problem, please feel free to call our offices. We will always do our best to accommodate you.
|Bid: $19.53
|Ask: $19.63
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Product Description
Graded Perfect MS-70 by PCGS!
This United States commemorative MS 70 Silver dollar honors the legacy of the United States Army Infantry and the establishment of the National Infantry Museum and Soldier Center. The obverse of this coin features an image of a modern infantry soldier on rocky ground charging forward and beckoning the troops to follow, symbolizing the "Follow Me" motto of the infantry. The reverse design features the crossed rifles insignia, the branch insignia of the infantry. Inscriptions are "United States of America," "E Pluribus Unum" and "One Dollar."
Learn about Silver value and see the latest Silver price online at APMEX.com. Have questions about how to buy Silver coins or about Silver investments? Speak with an Account Manager toll free or click on the "Live Chat" button.
Since we may have more than one of these coin(s) in stock, you should use this stock photograph as an indicator of the quality of the coin(s) you will receive. Be assured, you will receive the exact date, grade, mint mark and grading service you order whether raw or certified. Our coin(s) will not have toning unless otherwise noted.
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text:
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Breakfast is included in your stay.
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Standard Room, 1 King Bed, Non Smoking
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Family-friendly Williams motel with an indoor pool
This family-friendly motel is located in the city center, close to Williams Depot, Small Town America Museum, and Wild West Junction. Local attractions also include Bearizona and Elk Ridge Ski Area.
Property Features
In addition to complimentary wireless Internet access, Comfort Inn Near Grand Canyon provides laundry facilities, a business center, and free parking.
Room Amenities
Plasma televisions come with cable channels. Guestrooms also feature complimentary wireless Internet access, air conditioning, and coffee/tea makers.Information missing or incorrect? Tell us!
Comfort Inn Near Grand Canyon
- At your hotel
High-speed wireless Internet access is complimentary. This motel offers access to a business center. Guests can enjoy a complimentary breakfast. This family-friendly motel also offers an indoor pool, laundry facilities, and a safe deposit box at the front desk. Onsite parking is complimentary.
- Total number of rooms - 74
- Number of floors - 2
- Elevator/lift
- Business center
- Free breakfast
- Laundry facilities
- Free parking
- Safe-deposit box at front desk
- Self parking
- Swimming pool - indoor
- Free Wi-Fi
- Stay connected
Available in all rooms: Free Wi-Fi
Available in some public areas: Free Wi-Fi
- Park your car
Free parking, Self parking
- In your room
- Air conditioning
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Guests are offered a complimentary buffet breakfast.
The Fine Print for Comfort Inn Near Grand Canyon
- When you arrive
Check-in time starts at 3 PM
- When you leave
Check-out time is 11 AM
- How you can pay
Accepted at this hotel: MasterCard, Visa
- You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.


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Welcome to the KWSC Forum
Sent you a FB message Vicky....
Please use your username and password to log in to the Members' Only part of the KWSC website so you can see all the items you have acccess to as a member.
If you have lost the email with your username and password just email me and I will tell you your username. When you go to the log on screen you can request your password which will be sent automatically to the email address that I put into the system originally.
Many thanks
You should be able to get onto the site by going from What's On - Club photo gallery - lookc, go here. This will then open up the lookc site to which you enter your name and the password.
Having lost my login, I tried pasting the "verification token" into the box provided, but it repeatedly rejects it. What more can I do? I'm sure last time I went on the photo site it was accessible from the homepage. Why is it necessary to bury it in the members' area when you need to log in to access it anyway?
There are 2 ways of accessing the photos. One via the members area with your login and password (well worth visiting as there is other info there too). The second is to click on the Sailing tab and then the cruising at KWSC then the link in the first paragraph to picture site.
The idea was not to hide them but to make them not quite so easy for anybody to access.
Let me know if you have any further problems.
Finally got in and uploaded our photos from the meal!!


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I'm already missing the recent past when the temperature and my age sometimes coincided (low seventies). I threw a tarp over collards, arugula, lettuce, and cilantro during the first frost, managed to prolong my garden's life and thus, perhaps, my personal summer.
October does have its good points. The color of leaves, for one, and Adolph is on a tree-drawing binge. Halloween, for another, when skeletons, pirates, and witches stream down Shorewood streets. Then there's Gallery Night and Day, the seasonal reminder that the Milwaukee art scene is very much alive. The fall Gallery Night is Halloween's precursor. People stream down the streets, but don't have to ring doorbells, don't have to trick or treat. They walk into the galleries, grab a handful of chips or a few pistachios, and gaze at art.
It's fascinating to grow old in the early 21st century. When I was young, we didn't have a refrigerator, we had an icebox, cooled by a chunk of ice delivered to our kitchen. When I picked up the phone receiver, the operator said, "Number please." We had to wind up our Victrola in order to listen to records (78s). A Model T Ford was stored in our back yard by a friend fighting in World War II. I was 11 when I first saw a television set.
I loved science fiction, Robert Heinlein, Philip Wylie, and other writers who pushed the limits of human imagination. I never thought I'd one day live in a sci fi world.


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Lady Saints Rally Late, Edge Columbus State 65-62
Contact: Steve Cunha, email@example.com
COLUMBUS, GA - The North Georgia women's basketball team rallied late on Saturday afternoon to score a 65-62 come from behind victory over Columbus State in Peach Belt Conference play at the Lumpkin Center.
The Lady Saints (11-9, 5-6 PBC) won their first road conference game in nearly a month, outscoring the Cougars (12-8, 7-4) 10-3 over the final six minutes of the game, while holding them scoreless over the last four minutes.
North Georgia played arguably their best defense of the season in the second half, holding the Cougars to 27 percent shooting from the field and forcing seven turnovers.
The game was back and forth from the opening tip as the two squads traded baskets over the first five minutes of the game. Crystal Moore knocked down a jumper with 9:28 remaining to knot the game at 17 and the Cougars responded by going on a 5-0 run capped by a layup by Dominique Gilbert with 8:11 remaining.
The five-point lead would be the largest lead of the half for Columbus State, but as they have done all season the Lady Saints responded with a 14-2 run over the next five minutes capped by a layup from sophomore standout Jaymee Carnes. The run would give North Georgia a seven point advantage, the largest lead for either team in the opening half.
With just under a minute remaining in the opening half Kari McCann knocked down a trey to give the Lady Saints a 34-32 lead and they would take the two point edge into the break.
The second half started right where the first left off with the in-state rivals grinding out possessions and trading buckets.
Neither team could steal the momentum away from the other with the largest lead for either team being just four points in the second half.
Gilbert gave the Cougars a 59-55 edge with just over six minutes remaining when she grabbed an offensive board and put it back. This would prove to be the turning point as Columbus State would score just one more field goal down the stretch.
On back-to-back possessions Carnes made a pair of free throws and made a layup to tie the game at 59. From there the Lady Saints defense stood strong, forcing three turnovers over the final two and a half minutes.
After stealing the ball with four seconds remaining, freshman Stephanie Huffman knocked down one of two free throws to stretch the lead to 65-62 and the last second three point attempt by Shan Basley would come up short as North Georgia escaped with their 5th conference win of the year.
Carnes paced the Lady Saints offensively as she has done all season registering her 15th double-double of the year scoring a game-high 24 points and pulling down 10 boards.
Huffman played her best game of the season, scoring 20 points while adding six boards and three assists.
The loss snapped a three-game conference winning streak for the Cougars who were led by Gilbert who poured in 18 points and a game-high 13 boards. Marina DeFoor score 15 points off the bench, knocking down 5 of her 7 shots from the field.
The Lady Saints return to the hardwood on Tuesday, February 7, when they host Montevallo. Tip-off is scheduled for 5:30 p.m. as North Georgia's Baptist Collegiate Ministries (BCM) will be hosting a "Blue Out" in Memorial Hall with the first 100 receiving a free blue t-shirt.


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Aziz Ansari tickets
Tickets for comedian Aziz Ansari's April 3 perform at Huntington's Keith Albee Theater are on sale now. They are $33, available through Ticketmaster.
Christian concert
Christian comedian Chonda Pierce brings her "Traveling Talk Show" with musical duo, The Martins, to Huntington's Christ Temple, 2400 Johnstown Road, at 7:30 p.m. today. Tickets are $15 and $20.
Call 800-965-9324 or visit www.itickets.com.
WWE tickets
Tickets go on sale at 10 a.m. Friday for the "WWE Raw" tour stop May 5 at the Charleston Civic Center. Prices are $15, $35, $50 and $95. Call 304-345-7469, visit www.ticketmaster.com or go to the Civic Center box office.
Among those scheduled to appear are John Cena, CM Punk, Ryback, The Shield, The Miz, Jack Swagger and Zack Ryder.
Kids' meet-and-greet and Easter Bunny arrival
Children's character Thomas the Tank Engine will be at Macy's Court in Charleston Town Center Saturday for meet-and-greets at 11 a.m., noon and 1 p.m. Each lasts 40 minutes.
Also, E. Bunny kicks things off there at 11 a.m., before moving to his spot in the spring garden in Sears Court, where he'll be daily through March 31. Hours are 11 a.m. to 8 p.m. Monday through Friday, 10 a.m. to 8 p.m. Saturday and 1 to 5 p.m. Sunday.
Call 304-345-9525 or visit www.charlestontowncenter.com.
Art exhibit opening
The Art Store, 1013 Bridge Road, opens "Helen Chilton: Fresh" with a reception from 5:30 to 7:30 p.m. Saturday, which begins with an artist talk. The exhibit is on display through March 29. Call 304-345-1038 or visit www.theartstorewv.com.
Chamber music concert
The West Shore Piano Trio performs in a Charleston Chamber Music Society concert at 7 p.m. Saturday at Christ Church United Methodist on the corner of Quarrier and Morris streets. The program, called "Struggle and Ease," features works by Robert Schumann, Dmitri Shostakovich and Camille Saint-Saens.
For the first time, the society will feature an opening act: West Virginia Youth Symphony violinist Brandon Brown (who's also its concertmaster) and pianist Jacob Bumgarner. The South Charleston High School students will perform a violin sonata by Beethoven.
Tickets are $20 for adults, $5 for students and free for youth age 17 and under when accompanied by a paying adult. Call 304-344-5389 or visit www.charlestonchambermusic.org. For more on the trio, visit www.westshoretrio.com.
FestivALL interns
FestivALL is looking for interns for this year's event in the following areas: promotions, volunteer coordination, executive director's assistant, dance events, theater events, music events, West Side events, public art and visual arts.
The unpaid internships are open to high school juniors through college students with an application deadline of April 1. Internships will begin in April or May, depending on the position, and run through June.
Applications are available at www.festivallcharleston.com or by email from Chrissy Preservati at cpreserv...@yahoo.com.
Charleston Stage Co. cast announcement
Charleston Stage Company has announced the cast for its production of the comedic monologue show, "Love, Loss and What I Wore." The nine-women cast is Jennifer Anderson, Lisa Gandee, Jann Hoke, Sheila Jarrett, April Ritter, Jessica Smith, Amber Surface and Terry Terpening and Daisy Thomas.
Performances are April 4-6 and 11-13. Call 304-343-5272 or visit www.charlestonstagecompany.com.
Murder mystery dinner theater
Murder and Merriment will perform its original murder mystery dinner theater, "Goering's Diamonds," March 15-16 at The Greenhouse of Teays Valley, 3554 Teays Valley Road, Hurricane. The evening begins with a French dinner at 7 p.m.
Tickets are $40. Advance reservations are required, and these events often sell out.
Call 304-397-6316 or visit www.thegreenhouseteaysvalley.com.


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Hippie T-Shirt
Created by Michaels Design Team
Material List
- Jerzees® T-Shirt, Black
- Jerzees® T-Shirt, White
- Tie Dye Kit, Your Choice of Color
- Pony Beads, Multi-Colored
- Painter's Tape, Low Tack
Project Instructions
Step: 1
Following directions on kit, tie dye the white shirt.
Step: 2
Smooth wrinkles from shirt, place on cutting mat.
Step: 3
Use painters tape and tape straight across black tee shirt about 8-inches from lower hem.
Step: 4
Use Olfa cutter and make vertical slits from hem to tape about ½-inch apart. Remove tape and cut hem from shirt.
Step: 5
Place tape across sleeves about 4-inches from hem, repeat slit making process on both sleeves. Remove tape and cut hem from sleeves.
Step: 6
Thread various colored pony beads onto cut pieces of tee shirt as desired.
Step: 7
Cut Black T-shirt down the middle. Place over tie died shirt.
Refer to photo to complete project.


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Home » Posts tagged with » cpr
American \ Association \ Basic \ BLS \ cpr \ healthcare \ Heart \ life \ provider \ support
Basic Life Support (BLS)
The Basic Life Support (BLS) for Healthcare Providers Classroom Course is designed to provide a wide variety of healthcare professionals the ability to recognize several life-threatening emergencies, provide CPR, use an AED, and relieve choking in a safe, timely and effective manner. Audience This course is for healthcare professionals who need to know how to perform CPR, [...]
Basic \ BLS \ cpr \ eLearning \ heartcode \ life \ online \ rcp \ support
BLS for Healthcare Providers Online Part 1
The American Heart Association's BLS for Healthcare Providers Online Part 1 Course, Web-based and accessible 24 hours a day, provides a flexible alternative to classroom training. Through case-based scenarios, interactive activities and videos, this course teaches the concepts of both single-rescuer and team basic life support. Audience Healthcare professionals who need to know how to [...]


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Immunotherapy has the potential to treat almost any type of cancer. Learn how we are making this a reality for more patients sooner.
Cancer patients, donors, scientists, and other supporters all stand behind the Cancer Research Institute. Read their stories and learn about what motivates each of us to keep fighting against cancer.
Have a creative idea for a fundraiser you'd like to host to benefit cancer research? Or are you seeking ideas for how you can help us achieve our mission to conquer all cancers? Get inspired by our ideas and tips.
We gratefully accept donations made in memory or in honor of a loved one. Your gift will be acknowledged to whomever you specify.
Numerous challenges can derail progress in finding new immune-based cancer treatments. We're solving some of the biggest challenges, keeping promising new immunotherapies on the fast track to patients.
Cancer patients are now beginning to benefit from advances in cancer immunotherapy. Watch this story of hope and survival, and be inspired to help us conquer cancer.
Browse our directory of scientific leaders who volunteer their time and expertise to help ensure that we fund the most innovative and promising research possible.
Held September 30-October 2, 2009, at the Millennium Conference Center in New York City, the 17th Annual International Cancer Immunotherapy Symopsium attracted 335 immunologists and tumor immunologists from more than 150 academic institutions, biotech, and pharmaceutical companies around the world. "Control of Cancer Immunosuppression: A Challenge for Cancer Vaccine Development," focused on immune suppression, one of the key challenges to therapeutic cancer vaccination.
Download Final Program (PDF)


text:
Hodgdon Pyrodex Select Black Powder Substitute 1 lb
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The statements and opinions expressed within Customer Reviews reflect each author's personal perspective and do not imply endorsement by MidwayUSA, its Employees or any other organization. Customers should in no way infer that MidwayUSA has validated review information as safe, accurate or appropriate.
We reserve the right to correct typographic, photographic and/or descriptive errors.


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Maryland House Minority Leader Anthony O'Donnell has called for a delay in the Purple Line and Baltimore's Red Line, saying proposed tax increases to fund the light rail projects would be too costly for taxpayers, the Baltimore Business Journal reports.
In Annapolis this legislative session, lawmakers are grappling with ways to fund the Purple Line, Red Line and other transportation projects.
Maryland Senate President Mike Miller has proposed a 3 percent gas tax that would raise up to $300 million for transportation, and jurisdictions would be able to tack on another 5 cents per gallon to pay for local transportation projects, Patch reported.
O'Donnell, R-St. Mary's and Calvert counties, said the Purple and Red Line projects should be put on hold until the economy improves, the Business Journal reports.
"We can't shock the economy," O'Donnell, R-St. Mary's and Calvert counties, said at the Greater Baltimore Committee's General Assembly Legislative Forum, according to the report. "The citizens are hurting. They can't take any more tax increases."


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For cozy mornings or lazy days, the Classic Moc from Minnetonka® offers a smooth, warm feel you'll never want to take off! The soft suede uppers give way to inviting leather lining inside that's the perfect way to greet the day.
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Dave Rempis: Communication, Improvisation and No Screwing Around
Although he also plays tenor and baritone saxophones, Rempis is best known as an altoist. Certainly, that's the horn he's on most often in the Vandermark 5, Chicago reedsman Ken Vandermark's flagship group and the band with which Rempis is most famously associatedat least out of town. But Rempis has been playing tirelessly for years, either as leader or co-collaborator, in a variety of great groups such as Triage, the Rempis/Daisy Duo, the Dave Rempis Quartet, the brand-new Engines, and the Rempis Percussion Quartet, an all-improv band whose debut studio effort, Rip Tear Crunch (482 Music, 2006), is one of the year's bestand most bracingreleases. I met with Rempis at a coffee shop in Chicago's Andersonville neighborhood during a rare hour in his life when he was not rehearsing, recording, curating or gigging. About all those activities, read on.
All About Jazz: I want to ask about all of the bands you're in, especially the ones you lead. Your newest band on recordI think the Engines are your just plain newest bandis the Rempis Percussion Quartet. This band recently released its debut CD, Rip Tear Crunch, on 482 Music. This is a group consisting of you, Tim Daisy and Frank Rosaly on drums and Anton Hatwich on bass. Before we get into the individual players or the music itself, let's just talk about the configuration, the concept of this group. You obviously wanted a band with only one horn and double percussion that was devoted to pretty much total improvisation. What inspired putting it together?
Dave Rempis: I think in a lot of ways it was just the musicians in the group and the way they play together. Tim and Frank, in particular, have a really unique relationship as percussionists. And I've always been interested in percussion music; in college I spent a year in Ghana studying West African music and ethnomusicology. In some ways, perhaps, I was looking to recreate some of the percussion ensembles that I'd heard there, so having two drummers sort of replicates that to some degree. So I think that's what we were going for initially.
AAJ: The first musician I'm going to ask about is so much more than one of the drummers in this band and on this record. That's Tim Daisy, who you play with in so many groups, both your own bands and in the Vandermark 5. Tim's really a huge collaborator of yours, so tell me about him. What do you like about playing with him and what does he add to the bands you lead?
DR: Tim and I have been working together since about 1997. The year I graduated from college, I started bartending at a club called the Bop Shop, the old Chicago jazz club. Tim was doing a weekly gig there and coming a lot for the weekly jam session on Tuesday nights, so I would see him a couple times a week, and we got to know each other and started playing together a lot. We've basically been working together regularly ever since in all these different projects, so I feel we've sort of developed this musical understanding or musical interrelationship. I think my favorite part about it is that Tim won't put up with any of my crap [laughing]. He knows my playing far too well and won't let me fall back on clichés. If I do stuff like that, I'm going to hear about it from him! So it's a really beneficial thing for me, in the sense that he keeps pushing me a lot, even though there is also this kind of shared understanding or shared development in regards to the music.
AAJ: Then there's Anton Hatwich on bass and Frank Rosaly on the other kit. Tell me about their role in this music.
DR: As far as roles go, I would say Anton is kind of the middleman between me and the two drummers; he's the anchor of the group. He's sort of steering thingsI guess that makes him the rudder. He's really the one who's steering things over the long haul, since most of the things we do are long improvisations. I really feel like it's been his role to mediate between us and negotiate between where I'm pushing things and where the drummers are pushing things.
As for Frank, I feel like he and Tim have, as I've said before, this very interesting way of playing together for two drummers, where they aren't occupying the same spacewhich is really unusual for two drummers. I think it's something that they're able to do because they're both really sensitive musicians and because they have really different playing styles. So in a way, I think we're all equal partners in the same unit, but we do occupy different roles.
AAJ: This is completely improvised music. Every set is a new invention. You did the record back in February of 2005. Does this group still sound like the one playing on the CD? If every night's an improvisation, are you going into similar areas or are you constantly changing?
DR: I wouldn't say constantly changing. I think it's changing over a longer span of time. Tours are generally the place where things really develop; it's like a crucible, and that's a period of rapid growth and change. Whereas when we're in town, doing, generally speaking, one or two gigs a monthbecause with all the different groups we're involved in, that's about as much as I think we're able to find the time to playchange isn't so drastic. So a tour is where you'll see rapid change. But I think there is a connection, still, to what we're doing on the record. I think the biggest difference between the record and what we do live is that we kind of took the opportunity of being in the studio to try some different types of thingslike, for example, to do some shorter pieces than we normally do in performance. The studio situation's obviously radically different than being on stage, and I think rather than try to fight with that, we decided to try to make it work for the record and actually try some different things.
AAJ: For the recording, or for that matter, in performance, do you tend to have any discussion beforehandany desires stated about what you're going to cover that night?
DR: In performanceno, we don't. I think in a lot of ways, we have a pretty good shared feel for how performances should go in some sense. Part of the improvisation is really trying to come up with longer structures that basically work as compositionswhere it's not just improvising from one moment to the next. It's trying to take into account the shape of the set, the shape of the particular composition, and I think everybody in this group is pretty adept at doing that. Everyone, for the most part, is a composer on their own; everyone leads their own groups. Everyone has a good sense of how to make things flow in a way that makes for interesting orI don't want to say entertaining...
AAJ: Hey, it can be entertaining. I think it is.
DR: Yeah, it's a pretty visceral ensemble. It's not something that's completely abstract and obscure. It's very much hooked-in to a pretty driving rhythmic sensibility. And a melodic one, too.
AAJ: I know that it can be hard to talk about songs that you improvised over a year ago in a recording studio. But I want to ask about some of the songs on Rip Tear Crunch. I love the first song on the CD, "Shreds. I think it's a great beginning for the album, and kind of an effective demo for the listener of what the band does. It's grooving, it's polyrhythmic with what could be considered African rhythms, and Anton's bass, compared to the other three players, is somewhat minimalas it is throughout the recording. You're on alto here. Any memory of this one?
DR: Oh, yeah, sure. I had to spend enough time listening to it when we were mixing it [laughing]. In a lot of ways, in terms of what you said, I think that's one of the reasons that we chose the piece to be the opener on the albumit's a pretty good introduction to some of the things we're dealing with, and a good jumping-off point for the rest of the record.
AAJ: I think my favorite piece on the album is "The Rub, which is the last one. It's the most abstractthe most like what people think of when they talk about "free jazz. This one starts off with some great alto against Anton's arco bass, just the two of you, although the drummers make up for lost time later on when it gets pretty thunderous and churning. There's a nice contrast here between rubato timelessness and a slowly introduced tempo until it's just cooking. Any insights into this piece?
DR: That's one we chose for its structure. It was sort of an unusual structure. There are a lot of different duo and trio sections that happen in there before the end, when the whole group kind of comes in and, as you said, it gets kind of cooking again. I think that structurally, that was an interesting piece and that's why it got included on the record.
AAJ: Did you record much stuff that didn't make the record?
DR: Yeah. All told, we probably had about two-and-a-half hours of stuff down that we boiled down to 55, 56 minutes. Most of the stuff we recorded didn't get on the record.
AAJ: Well, sequencing is very important.
DR: Definitely. Having spent a lot of time in different groups putting different records together, this is one that I was pretty happy with in terms of the flow of the record. I like it as a record itself, and not just the playing or particular pieces. I feel like the flow of the record works pretty well as a record.
AAJ: "Rip Tear Crunch is the real heart of the recording; it's 28 minutes of all kinds of stuff and I won't try to describe it all. But I do admire its structure; it's an improv, but there's an overall symmetry and structure I like. I think you're on several horns herealto, tenor and baritone sax?
DR: I think it's just alto and baritone, actually.
AAJ: Fair enough. In any case, the end of the piece has a symmetry with the beginning. It made me think about how you as improvisers have to think about where it's going and where it'll end uphow to get out of it in the end so it's got some structure. Do you think about this when you're playing?
DR: Oh, yeah. Searching for ways to begin and end pieces is kind of the focus of good improvising. I mean, there are many standard ways to do that, whether it's harmonic cadences, or dynamic motions, or whatever. It's really a challenge. One thing about that piece that still kind of boggles my mind is that it is an improvisation and it's not something we talked about beforehand, but Anton and I start that piece off with these almost blues-like, repetitive licks, and we both just came in on that in the same key two clicks off on the metronome. And we rapidly adjusted within the first bar or so of music, so we were both in the same tempo. It was just sort of odd [laughing] that we both came in like that. I think it was the point in the recording session where things were really getting going, and that's what happens on stage a lot, too. But it's still interesting. That's one thing about that band that I really enjoythat there's this shared sense of the music.
AAJ: I suppose that can only grow after five or six nights on a tour.
DR: Yeah, absolutely. I'm just starting to get some recordings back from the tour we did now, and I'm hoping to put out a live record from that tour. Night after night, it really felt great to be on the road with these guys. It felt like it was growing and that people were doing new things, pushing things. It felt really comfortable, toowith a lot of free improvising, there's a certain about of nervousness before you go on stage, even though this is what we do. It's like, "what's going to happen?
AAJ: Well, it might be bad.
DR: Yeah! That's the thing. It could be horrible [laughing]. But I pretty much continuously felt like we got up on stage and really played music. It was really exciting to be a part of that.
AAJ: As the leader of this band, is there any way that you are leading the improvisations when you're all playing? Are you driving and in charge, or is it four-way communication?
DR: I view it as four-way communication. Ostensibly, I'm the leader of the group, and in some ways that's musical. But more, it's about who books the gigs, who takes care of the logistics, that sort of thing. I put the band together around a certain thing I'm hearing, but I think that everybody in the band is in the band because they're also sharing in that aesthetic. I certainly don't view myself onstage as the person that's controlling things. It's a group. My own idea of this music is that it's collaborative, no matter whose band it may be. To me, that's a really important part of this kind of music. I'm not interested in being in a band in which I'm the leader. I'm much more interested in having strong personalities in the group who push things one way or another, or who make decisions onstage. That's a lot more interesting to me than telling people what to do or forcing people to do certain things.
AAJ: Well, that makes people flinchy anyway. Now I want to talk about your collaboration with Tim Daisy alonewhen the two of you perform as a duo. This music has a lot of improvisation, but it has written sectionsthese are compositions you play more than once, and they have written parts, heads. You put out a CD last, Back to the Circle (Okka Disk, 2005), and I suspect you two'll be playing together forever. You both write for this band, although maybe you write more. I love the way Daisy plays when it's just you two: he's always imaginative, and he plays with such fierce concentration. It always feels like he just won't let the tunes get stale or settled. Got any insight into the Rempis/Daisy Duo? What does this band specialize in?
DR: Ah, god, I don't even know. That's part of the thing with itevery time we get on stage, we're playing compositions that we've been thinking about or dealing with for a while, but the flexibility of the duo format can just go in so many directions. And I think we both are interested in pushing it in those directions and away from where we've taken it before. The flexibility involved with it, I think, is really the biggest thing, because it's just so easy to really push things really far out, and yet still know how to connect it back to the composition to some degree. I think that's really the interesting challenge of the group: maintaining the compositional structures while at the same time throwing them out the window.
AAJ: Actually, I think a good example of that is the tune "Welcome. It starts off the CD, and you did it when I saw the two of you play a couple of weeks ago. To me, it's this band's greatest hit. It's got a very sweet theme, very mellow and memorable and you always find something great to improvise in it. When I saw you play it live, Daisy was at his most restless best herehe was really wrestling with the song, like he was determined to pull something new out of it. There's a nice way you two deconstruct it in the middle to rebuild it by the end. Any thoughts?
DR: Well, that one's kind of built on a sort of an A-A-B-A-type theme, where the B is a lot quicker, almost a free bop sort of thing where the head is a bit more weightywell, not weighty, but just grounded, I guess. And I think a lot of what we've tried to do is figure out how to bounce back and forth in improvisation between those two types of feels. There's plenty of room, plenty of grey areas between those two things, and I think that's what we spend a lot of time exploring on that one.
AAJ: I suppose that songs like "Back to the Circle and "Clockwise are pretty demanding of the listener, pretty free by some people's standards. "Clockwise might even be a complete improv...
DR: Actually, it is the one improv on the record. It's a short free improvisation.
AAJ: But I think there's something about Rempis/Daisy that's really accessible and downright pleasant. Maybe it's the space between the players and maybe it's just that the songs are good"Fast Cars and "Welcome are very memorable songs.
DR: I don't know. I think it's just how I hear things. I always listened to a ton of jazzI grew up listening to it and love that music, although I don't necessarily consider myself a jazz musician per se. But it really informs what I do in so many different ways, and I guess that includes the accessibility of that. I love European improvised free music and I love a lot of other things. Personally, I'm very much interested in melody and rhythm and other, let's say, more traditional aspects of music, so it's kind of fun to bounce back and forth between these worlds of complete abstraction and more tangible or traditional ways of structuring music.
AAJ: Rempis/Daisy did a song I didn't know called "No Fires when I saw you play recently. You were on tenor for this one, which you actually play quite a bit. On this one I actually thought there was a Coltrane-ish quality to the playing on the tune that I hadn't heard in you before. Who knows if it was really there, but do you find that different horns bring out different sides of you?
DR: Oh, yeah, very much. Very much so. It's interestingI started playing tenor in, I think, '99. Up to that time, I was an alto player who listened to tenor players and alto players and kind of took all that stuff in as an influence on alto. As soon as I started playing tenor, it was like, "oh, I can start to channel this stuff a little bit more. And now that I'm playing baritone as well, it's like, "well, I can sort of split these things up into the different horns, or I can still focus on channeling all of this stuff into each horn. And I think I'm trying to still focus on the latter, where it's just hearing the saxophone as an instrument, and where I can take things from alto players and try to do it on tenor if I want to. But that said, each horn does lend itself towards certain thingsand now, dealing with three different horns, it's kind of interesting to, when I'm hearing something, reach for this horn to bring it out a bit more. Because they do have their own personalities, and things that they lend themselves to. I know that when I started playing baritone a couple years ago, composing immediately changed, because what I'm hearing playing baritone, and the way that it fits into an ensemble, is completely different than the other horns. So it makes you hear different things, basically.
AAJ: Do you still consider yourself an alto player?
DR: Yeah. I think at heart, yeah. That's the horn that I really grew up with. That would be my kind of go-to horn if I had a gig where I was just going to play one horn.
AAJ: Let's go back to the Dave Rempis Quartet, who did a CD that came out two years ago called Out of Season (482 Music, 2004). This was you, Tim Daisy, Jason Roebke on bass and Jim Baker on piano, analog synthesizer and some violin. This is, in my opinion, a pretty classic record. Jim Baker's a very interesting voice to pair with yours. You aren't in that many contexts with chordal instruments, and he's so fantastic on the record. I love the sound of his analog synth and your sax on "Scuffle, Part I, or his piano with Daisy's percussion in the beginning of "Never at a Loss actually his piano everywhere. There are a lot of great sounds in here and a mood that sustains itself across the album. What was this band about?
DR: This was also a free-improvising band, and again, very much built around the musicians in it. Jim and Jason and I had a trio for about two or three years; we did gigs at Lula Café before it became a little bit more of a restaurant.
AAJ: A wildly successful restaurant at that.
DR: Yeah. It's a great place. So we were doing that for a while, and then at some point it seemed like it would be a good idea to add drums. And I think that that also allowed Jim to bring in his ARP, to try out the synthesizer. So we tried that for a few times in the summer of, I think, 2003, and started doing quite a few gigs as a quartet around that time. This is a band that to me was a bit more abstract, in a wayless time-oriented, more sound-oriented. But with Jim playing piano, there was a harmonic element to it which was pretty great. Actually, probably my favorite thing on that record is the piano solo he takes in the middle of the record that's about three minutes long. I think it starts "Out of Season, Part III. It's a beautiful piano solo.
Jim is absolutely one of my favorite musicians and improvisers. He's really someone who, every time he sits down to play, comes up with a completely creative and new solution to the same problem, on the same piece of music, whether it's written music or whatever. He is just the consummate improviser, in the real sense of the world, and it's really exciting to play with him. So I think in a lot of ways, the band was built around that.
AAJ: I knew I loved his analog synth playing, but I hadn't realized what a fabulous pianist he was. Is this band defunct?
DR: At this point, yeah. We pretty much stopped playing a couple years ago, I think. It was just a combination of everyone doing a million things and the fact that, in a way, we kind of got to a point where we'd exhausted some of the possibilities. To me and, I think to some of the other guys, it seemed like, "okay, let's move on.
AAJ: Well, it happens with improv. You can run out of the stuff.
DR: Yes, exactly. I think a learning process is a big part of this music for me, and when it gets to the point where it feels like we've dealt with this territory before, and it isn't necessarily something new, and that continues to happenit's a sign that maybe it's time to move on and try something else.
AAJ: The next band I want to discuss is Triage. This is a trio of you, Tim Daisy and bassist Jason Ajemian. Your newest CD is American Mythology (Okka Disk, 2004), the group's third.
DR: Actually, there's another new one out called Stagger (Utech, 2006), that came out in February. It's probably all sold out at this point, but it's a live record that came out on Utech Records.
AAJ: Hmm, I want that record. This is in some ways your least abstract, most ass-kicking band. The themes are composed with this group, and it's pretty muscular stuffit swings hard when it wants to and there's plenty of room for some wrenching soloing. In some ways, something like "Crystal Set is as close to straight-ahead jazz as you get, although the band is good at all kinds of stuff and the compositions are excellent. "In the Afternoon is one of my favoritesyour alto almost sounds like Lee Konitz. I don't know why I keep coming up with modern-jazz legends you sound like in this interview.
DR: If you want to compare me to Lee Konitz, I can live with that.
AAJ: Okay, tell me about this group.
DR: Triage is a really important band to me and, I think, to the other guys in the group. It's something we started in 2001; we were all [laughing] relatively young at that point and I think it was really a workshop-type group for a long time. We were trying a lot of things, rehearsing regularly, playing gigs all the time. We did four or five tours with that group, three of which were two to three weeks long. But we were also playing in Chicago at least twice a month when we were all in town. To me, it's a really long-term group that did a lot of work and really managed to develop a lot in that process. That's really a touchstone for me in terms of my own development.
As far as the music goes, I think you're right. We tried a lot of different thingssome things worked, some things didn't. We kept pushing forward on some fronts and let some others gobut that was kind of the point of the band, to try a wide range of stuff. And to try to create something perhaps more organic than some of the other groups that we're involved in, where it wasn't about necessarily executing compositions in a particular way, but more about trying to find different ways to play the same composition over and over. Different ways to navigate through these signposts within a composition.
AAJ: The concept was not having so much of a concept.
DR: Exactly.
AAJ: You keep talking in the past tense. Is this band over?
DR: We've been taking a break for a while, actually. Everybody's been really busy touring and doing other things. Last September, I think, was our last gig and at that point we decided to take a little break for a while. But we've been talking about trying to do something again in the fall.
AAJ: I'll ask about one more band of yours, and this is your new group the Engines, which I saw play two weeks ago. This is a collaborative band, I thinkcertainly you all share composing. It's you, Tim Daisy and Nate McBride, who plays acoustic and a bit of electric bass. The night I saw you, trombonist Jeb Bishop was playing as well, but I gather he's not a regular member.
DR: That's still kind of up in the air.
AAJ: Get him in!
DR: We've been playing for about a year now, and for the first six months or so, we were doing free improvisation stuff. And as a trio, I think we felt like, "okay, as much fun as this is, let's try to do some composition. So over the course of the spring, we've been working up a body of tunes, and we were asked to do a workshop in Champaign [Illinois] about a month ago at a high schoolactually, two concerts and a workshop in the same day. They were also interested in bringing Jeb down for something else, and basically asked if maybe we'd just combine these ideas and have him as a special guest. That was fine with us; everyone in the group likes Jeb and likes playing with him.
So we really rehearsed a lot for this. We had to develop about two-and-a-half hours of material with Jeb, so there was a lot of rehearsing involved. The concert went great, and the things we've done since then have gone really well with Jeb. So we're going to go into the studio this coming weekend and record with him.
So whether he's an official member or not, I'm not sure. But [laughing] it's kind of looking that way.
AAJ: It's not that I don't think that you'd be good without him. But first of all, he's playing so well latelymaybe better than ever. And there's so much counterpart in the music, and so much cueing and composed ensemble parts and accents, that having him there, especially as counterpart to your lines, is fantastic.
DR: I totally agree. There's a big difference, arrangement-wise, between a trio and a quartetthere's just a lot you can do with a quartet that you can't with a trio, with three voices. As a horn player, it's nice to have another voice to work with. We'll see how things develop, but I hope he'll be interested in continuing with us for a while.
AAJ: I've only seen this group once, and didn't know any of the tunes. But I didn't get the impression that this group was that concerned about what kind of music it was supposed to be playing.
DR: No. Not at all. Everyone's bringing in material for the group, so it really is a collaborative thing, and I think everyone has sort of different visions about what they're hearing. To me, that's great. It just opens things up in a nice way, and as long as you can figure out how to put a set together that flows pretty well, it's greatwhich isn't really that difficult. It's like putting a deejay set together, you knowspinning five or six records is fine as long as you can make it flow properly.
AAJ: Lately, I'm really into Nate McBride on electric bass. I saw him with Ken Vandermark's new band, Powerhouse Sound, and he was amazing. He's an outstanding acoustic bassist, of course, but he's also a righteous electric bassist.
DR: He does both really well. He's a unique electric bassist too, I think. In some ways, he's coming at it from a jazz perspective of sorts, and has a slightly different feel than somebody who's strictly an electric bassist. He sounds great on both instruments. For me, it's really exciting to play with an electric player again. I love acoustic bass, it's got so many possibilitiesbut I've been playing with acoustic bass players for years, so it's nice to get back to, "hey! I did this back in high school! I like this! This is [laughing] great!
AAJ: Okay, we've covered about a million groups of yours. You're playing in all these bands and you lead quite a few of them. You're an imaginative musician and a great soloist. Is there anything that ties all your bands together? What's your specialty?
DR: I think probably just booking gigs! That's my specialty. But, actually, I don't know. I'm not sure what ties them together. I think there is a core group of musiciansas you said, Tim Daisy plays in a lot of the groups I'm in. But I'm really just not sure what the unifying thing would be necessarily. I don't know what the defining characteristic is. If anything, I play in all these bands. I guess the idea behind having different groups is that perhaps they refract whatever it is I do differentlyor make me do different things within their contexts.
AAJ: I wanted to concentrate on your own bands, but I do want to ask about the Vandermark 5. You've been in this band since, I think, 1999.
AAJ: And you're also in Ken Vandermark's Territory Band. You're a huge part of the Vandermark 5you're Ken's sort of second-in-commandwhen Ken is indisposed playing, you're the one cueing the players with those classic V5 hand signals. I think the records and performances by this group are always good. Tell me what it's like to play in Ken's groups and what you get out of playing with him.
DR: A ton. Ken is a really amazing person on many different levels. I've just learned a ton from him. I started playing in that group when I was 23, and in that time, whether it's musically or just in any number of different ways, I've just learned a ton of different things from working with him and from working with the musicians in that band. It's certainly a big thing in my career as far as developing. Ken's not really somebody who's willing to put up with something that's half-assed at allever. Just having people push you like that is a great, great thing. I hope in some ways that's kind of translated to the rest of the Chicago scene in that there's an attitude here of people not screwing around, but really doing their thing in a wholehearted sort of way. That's probably the biggest thing.
AAJ: Was it an intimidating band to join?
DR: Oh, yeah. I still can't figure out why he asked me to do that band at that point, because I certainly wasn't ready for it. I think the biggest thing was that he knew I was young and would be able to tour with the group. Mars Williams, whose place I took in the band and who's an amazing saxophonist, was doing a million other things at the time and couldn't really commit to touring with the group and building the group into the thing that Ken was seeing. So I got lucky [laughing] and I guess I was able to help with that, in the perspective of, "okay, yeah, I can go do two weeks in the States.
AAJ: I know you've been acting as curator for the Improvised Music Series at Elastic in Logan Square here in Chicago. Why don't you tell me about that.
DR: Well, the space started as a space called 3030 in Humboldt Park. They opened, I think, in 2001, and the series I started doing there was in April of 2002, and we did every Thursday until they closed in September of 2005. So it was about three-and-a-half years. All told, we did somewhere around 150 concerts, plus two three-night festivals and probably 20 special events on the weekends and stuff. It's always been a Thursday-night serieswhich was an outgrowth, I would say, of some of the stuff Ken Vandermark was doing on Thursdays at the Lunar Cabaret in the mid-nineties, which then moved over to the Nervous Center in the late nineties. When that space closed, we tried to move it over to 3030, which seemed like it would work out for a while, and luckily, it's still running. As I said, that old space closed in September of 2005, but they managed to reopen, and we starting doing the series again [at the Elastic space] in April of 2006.
So at the new space we're up to our thirteenth concert, which is tonight. And we've already done a few special eventsFred Anderson Trio and some other ones.
AAJ: Aren't you also affiliated with the Immediate Sound Series, which occurs Wednesdays at the Hideout?
DR: Yeah. We've basically formed a group of musicians and presenters called Umbrella Music. This was originally formed without a name about three years ago. The idea was to work together with a lot of the people presenting this type of music in Chicago, so that we could make it easier for artists to come to town and play a number of gigseither with their own group or with local musicians. To really coordinate in a way that was beneficial both to musicians in town and people coming from out of town, in terms of trying to secure funding and other things.
One of main projects we worked on for quite a while was to try to get [Chicago Public Radio station] WBEZ to develop their programming a bit and move away from what a lot of us saw as bordering on smooth jazz at times. They were very resistant to that idea, because, according to them, everything was perfectly fine and their ratings were great. But as we've seen in the last few months, that clearly was not the case, as they finally axed their programming director and announced that they were actually getting rid of music altogether.
So we spent a lot of time on that, and then kept in touch informally over the last few years. Then in the fall, with the Velvet Lounge closing, 3030 closing, the Empty Bottle cutting way back on its jazz bookings, it seemedparticularly to myself, Ken Vandermark and [percussionist] Mike Reed from the Hungry Brainthat we needed to do something to keep venues where we could all perform our music. So we talked a bit over the fall, we talked with Mike Orlove from the Cultural Center, and he introduced us to Pat Daley of Gallery 37. We formed a new group called Umbrella Music, which is programming weekly seriessort of on our own, but as a federation, I would say. Ken Vandermark and [local fan-turned-booker] Mitch Cocanig are doing Wednesday night at the Hideout; I'm doing Thursday nights at Elastic; Mike Reed and [cornetist] Josh Berman are doing Sunday nights at the Hungry Brain. And the whole group has been working together, with me as the sort of contact person, for the Downtown Sound Gallery Series at Gallery 37.
AAJ: Good thing, and it's a boon for the listener. These are now the venues that I check weekly for live music. Without this, I don't know what there would be.
DR: Yeah, right. One thing we've also tried to work on is just making the information more readily available and hopefully accurate. There are some great listings like Savage Sound (www.savagesound.com), with all the improvised music gigs happening in town. The website we're curating, www.umbrellamusic.org, is more limited to the venues where we're booking shows, but we try to make sure that it's up to date and accuratewhich is often not the case with the larger listings, since they have to incorporate so much.
AAJ: No, they often get the dates right, but they almost always get the personnel wrong.
DR: Yeah. It's pretty challenging to compile all that information unless you have the time to do it, basically.
AAJ: All of these venues and series have worked together to offer a real combination of Chicago's improv musiciansboth the so-called North Side and South Side playersand a lot of visiting European players as well. Besides that, is there any philosophy to the bookings besides just presenting good improvisational musicians?
DR: I think that's the core directive. We are really trying to incorporate a wide range of people who are playing on these series, whether it's up-and-coming artists or famous visitors coming in from New York, or Europe, or wherever it might be. I think for all of us, we all are either up-and-coming or have gone through that phase of our careers. I know some people gave me some breaks when I was younger, and I got the opportunity to play, which is really how we learn our stuff. So I think we're all pretty aware of trying to provide gigs for everyone across the spectrum.
AAJ: I know you've also been working on the 2006 Pitchfork Festival, which is a whole different realm. Do you see yourself continuing to do this sort of larger-scale or rock-based work?
DR: Yeah, possibly. I'm working here more on the logistical side of it, rather than on the programming side. But its being a somewhat part-time position a lot of the year, and then being a sort of seasonal thing with one main event that we focus on, has the potential to fit in well with my musical schedule. I can go on tour for six or eight month of the year, and come back and do this for a while.
AAJ: What else are you going to do this year?
DR: In July, I'm taking some time off, because of my work helping to organize the Pitchfork Festival; that's kind of my day job right now, and it eats up a fair amount of time. I'm recording with the Engines, keeping the Percussion Quartet going. In the fall, I'll be doing some work with Ingebrigt Håker Flaten, the bassist who has a quintet with some Norwegian guys. It sounds like Jeff Parker's going to join the group, so it'll be me, Frank Rosaly, Ingebrigt, Jeff Parker and a Norwegian violin player whose name I can't remember at the moment. We'll probably be doing some work and possibly touring Chicago in September. We'll probably do a short tour with the Engines in the fall.
We have some Vandermark 5 work coming upactually, we're going to Malaysia in November. I've never been to Asia before, so that should be pretty amazing! It's the beginning of a tour that will take us to Europe as well, so that'll probably be [laughing] some horrible, horrible jet lag! I'm not quite sure how that's going to work out yet. From the sound of it, we may end up circumnavigating the globe, so that should be interesting.
I'm going to work on finding a label that's interested in putting out one of these live shows we did on the Percussion Quartet tour, and then perhaps try to tour again in the spring with that group. And the Territory Band is doing some work in Chicago in August. We're doing a concert in Millennium Park, and we'll probably be up in Milwaukee and a few other connected gigs around Chicago.
Selected Discography
Territory Band-4, Company Switch (Okka Disk, 2006)
Rempis Percussion Quartet, Rip Tear Crunch (482 Music, 2006)
Triage, Stagger (Utech, 2006)
Vandermark 5, Free Jazz Classics, Vols. 3 & 4 (Atavistik, 2005)
Vandermark 5, The Color of Memory (Atavistic, 2005)
Dave Rempis/Tim Daisy, Back to the Circle (Okka Disk, 2005)
Rempis Percussion Quartet, Circular Logic (Utech, 2005)
Vandermark 5, Alchemia (Atavistic, 2005)
Territory Band-3, Map Theory (Okka Disk, 2005)
Dave Rempis Quartet, Out of Season (482 Music, 2004)
Vandermark 5, Elements of Style, Exercises in Surprise (Atavistic, 2004)
Triage, American Mythology (Okka Disk, 2004)
Territory Band-2, Atlas (Okka Disk, 2003)
Triage, Twenty Minute Cliff (Okka Disk, 2003)
Vandermark 5, Airports for Light (Atavistic, 2002)
Vandermark 5, Free Jazz Classics, Vols. 1 & 2 (Atavistic, 2001)
Vandermark 5, Acoustic Machine (Atavistic, 2001)
Territory Band-1, Transatlantic Bridge (Okka Disk, 2001)
Triage, Premium Plastics (Solitaire, 2001)
Vandermark 5, Burn the Incline (Atavistic, 2000)
Vandermark 5, Simpatico (Atavistic, 1999)
Photo Credits
Color Photo: Cees van de Ven
Triage Photo: Lee Moore
B&W Photos: Joel Wanek


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With the long Labor Day weekend comes the unofficial end of summer.
For many people this will be the last weekend to head down the shore, and it's going to be a hot and muggy one.
Families in Ocean City hit the beach bright and early Friday to soak up every last minute of summer, despite a few clouds.
From the waves to the sand, children found plenty of ways to entertain themselves. And as the sun started to go down, big crowds started arriving on the boardwalk
There's plenty going on at the shore this holiday weekend. FOX 29's Kelly Hessedal has more details and reaction in this video report.
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This iphone 3G is not simple to fix so please do suggest trying DFU mode with the latest itunes version because it simply will not work. There do seem some solutions for this fault for the iPhone 2G but most of the software relates to firmware version 1.0.2 that wont install on a 3G so they dont work.
What I know and what I have tried:-
Latest Itunes and a DFU restore results in error 23. Various other combinations give different error codes but the best combination is the one below.
Itunes version 8.01 with firmware version 2.1 will restore but gives an 1002 error upon completion. Then using Quickpwn the phone will jailbreak and turn on. However there is no IMEI,Wifi,ICCID or Modem Version...they are all blank.
The most likely cause of this is that the Baseband will not install during the restore procedure. I have tried to run baseband downgraders but they all fail because there is not a baseband installed to downgrade.
ZiPhone:- Does not work, just crashes.
Phasebandowngrader cannot run as I need to install a MobileTerminal program on the iPhone which cannot be done as it does not have a WiFi connection.
I did manage to copy a Terminal program across to the phone with iBrickr and put the file into the /applications folder but when I start the program it shuts down straight away....maybe because the phone does not have a networking ability because of the missing baseband firmware.
I cannot load anything on the phone to check bootloader versions etc, so I'm just guessing. If I can get any version of Baseband loaded then this may help me restore the phone.
Any ideas or is this phone dead, I will try any suggestions but feel I have exhausted all options and maybe the hardware is just faulty.
Any help appreciated.


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It was only a couple months ago 85-year-old Melvin Cornelson was singing "You Are My Sunshine" to his wife Doris.
His family says he always knew how to impress a woman, and his life there was only one. "They never dated anyone else," says Melvin's daughter Candi Sawatzky.
Melvin and Doris celebrated their 62nd anniversary this year. Candi decided to move her parents to Buhler from Oklahoma in May when their health began to fail.
"They always stuck up for each other. Always. She said he was the first man she ever kissed and the only one she ever kissed," says Candi.
Through the years they made an impression.
"Everywhere they went they got attention. They're that couple that grew old together," says Diana Spencer who works at the Sunshine Meadows Retirement Community in Buhler.
Not only did they grow old together, they died together. "They're together…they're happy," says Candi.
After a battle with cancer Melvin died last Thursday. Doris, like she had been for more than six decades, was by his side.
"She got up and came and sat with him," says Candi. But within hours, Doris began to fade.
"She sat with us all morning and planned some things. She went to bed at noon and never got up."
Their family has a theory.
"I think he said enough was enough and that gives her permission to go," says Candi's husband Randy.
"I do it think it was permission for her to go," says Candi.
Melvin and Doris weren't going anywhere without each other.
"I have great pictures in my head of what they're doing," says Candi.
And that's why even in death, the people Melvin and Doris left behind can do nothing other than smile.
"They're happy. I know they are."


text:
GNC Melatonin 3 (60 tablets)
- Found In: Vitamins / Nutritional / Dietary » Nutritional Supplements
- Brand: GNC
- Manufactured by: GNC
Ingredients ():
Members, please sign in to view which ingredients are on your personalized "avoid" list.
G/ Do not exceed one tablet in any 24 hour period.
G/ Do not use in conjunction with alcoholic beverages, when driving a vehicle, or while operating machinery.
G/ If you are taking medication or have a medical condition, consult a physician before using this product.
G/ This product is not to be taken by pregnant or lactating women.
Keep Out Of Reach Of Children
Nutrition Facts
- Serving Size: 1 tablet
- Servings Per Container: 60.0
- Amount Per Serving
- Calories 0.0Calories from Fat 0.0
- Total Calories 0Total Calories from Fat 0
- % Daily Value* (DV)Recommended DV
Total Fat 0.0 g 0%65 g
- Saturated Fat 0.0 g0%20 g
- Trans Fat 0.0 g
- Cholesterol 0.0 mg0%300 mg
- Sodium 0.0 mg0%2,400 mg
- Potassium 0 mg0%3,500 mg
Total Carbohydrate 0.0 g 0%300 g
- Dietary Fiber 0.0 g0%25 g
- Sugars 0.0 g
- Protein 0.0 g
* Percent Daily Values are based on a 2,000 calorie diet. Your daily vailues may be higher or lower depending on your calorie needs.
Weight Watchers PointsPlus® Value* = 0
*Weight Watchers® and Points® are registered trademarks of Weight Watchers International, Inc. The number of Points provided here were calculated by Food Facts, Inc. based on published Weight Watchers International, Inc. information and do not imply sponsorship or endorsement of such number of Points, Food Facts, Inc., or the above product by Weight Watchers International, Inc.
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Discussion Forums
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I am working on an old project, which has developed long back using rails 1.1.6 version. Now there is a small maintance work on that. So i am getting an error while loading the page, where there is a captcha to be loaded. No such files to load -- GD
Am not able to start the applciation. I don't know how to include the GD support. Is it through gem?
Any help is highly appreciated. Thanks in advance"
There are two gems offering an interface to GD. A pure Ruby one @gd2@ (which, I think, has some additional features) and the original one by Matz @ruby-gd@
You'll also, obviously, need the GD library itself if you don't have it: "http://www.libgd.org/":http://www.libgd.org/
Thanks for the help Jason, well i tried to install ruby-gd first but i got the following error http://pastie.org/400819
I was not able to fix the issue… So tried by installing the gem gd2. But the following line of code is causing the problem i guess, since it was not able to find the class GD::Image im = GD::Image.new(image_width, image_height)
Does GD2 is having a class called GD::Image or do i have to use ruby-gd library itself?
Any help is highly appreciated.
Thanks in advance, nithyâ€
Here's the rdoc for GD2: http://gd2.rubyforge.org/rdoc/
The error you got was because @ruby-gd@ is not a pure ruby one, and therefore has to be linked against libgd - you probably have to provide the @--with-gd-dir@ option set to your GD install directory.


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FUDCon: Fedora Users and Developers Conference
FUD: An acronym for Fear, Uncertainty and Doubt. A typical tactic used by the opponents of open source to prevent its widespread adoption.
Con: In opposition or disagreement with; against.
FUDCon is the Fedora Users and Developers Conference, a major free software event held in various regions around the world, usually annually per region. FUDCon is a combination of sessions, talks, workshops, and hackfests in which contributors work on specific initiatives. Topics include infrastructure, feature development, community building, general management and governance, marketing, testing and QA, packaging, etc.
FUDCon is always free to attend for anyone in the world.
FUDCon is the Fedora Users and Developer's Conference, an opportunity for all who contribute to or use Fedora to meet, learn, plan, and hack. This event is free and is open to everyone.
To learn about what a FUDCon is like, you can view a video from the North American FUDCon 2009. This year, 2012, Kuala Lumpur is given the honour to host this premier event for the Asia Pacific region.


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|A few partial fellowships are available for the residential course "Gender equality for development effectiveness".
Place:Turin (ITC-ILO campus)
Date: 26-30 May, 2014
Deadline for applications: April 14, 2014
Download here the flyer of the residential course "Gender equality for development effectiveness".
The partial fellowships are intended for nationals of ODA countries who comply with the requirements detailed here below.
Participants who wish to apply without a fellowship can of course do so. The deadline for applications is the same.
12 - 16 May 2014
The course will allow you to detect and measure achievements and challenges on the integration of gender equality within an organisation.
The course is open to representatives of governments, workers and employers organizations, civil society organizations, human resources consultants and professional evaluators.
Particularly relevant for staff looking for concrete tools to mainstream gender and set result based management monitoring for projects and programmes and for assessing an organization's gender performance.
Previous knowledge of gender themes and direct experience in promoting equality issues is required.
You will find more information in the flyer of the course:
Click here to download it!
The deadline for applications is the 4 th of April:
Click here to fill-in your application form!
Contact details: email@example.com


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Rosen Inn International
7600 International Drive, Orlando, États-Unis, Distance du centre-ville : 13km
The Quality Inn at International Drive's excellent location on International Drive makes it convenient to walk to a variety of interesting attractions such as Wet-N-Wild and Fun Spot and many restaurants, not to mention lots of shopping. Universal Studios Orlando and Sea World Orlando are only 3 miles away and are easily accessible on our FREE scheduled shuttle transportation.
We need a valid credit card to guarantee your booking request, if a valid credit card is not provided, the booking will be cancelled and the deposit will not be refunded.
Our new beautiful & spacious sleeping rooms include two double beds with private bath, mini-fridge, microwave, coffeemaker, iron and ironing board, hair dryer, voice mail, cable TV with Showtime, pay-per-view movie channels and FREE wireless internet service, radio alarm clock and electronic laptop size safe.
Fully accessible ADA rooms are also available. Our two tropical pools, children's wading pool and our rooms are all surrounded with lovely landscaped gardens. The Hotel provides a family style buffet restaurant, a lounge with live entertainment, mini market/deli, gift shop, video arcade, children's playground, business center; self-serve laundry and guest service desk.
**Tax not included in rates shown and will be added to the balance upon arrival**
Please note:
Cancellation policy 72h
Check in time: 15:00
Check out time: 11:00
We will contact you after booking to provide the CVC code to complete your booking. Failure to provide this may result in your booking being cancelled.
Disponibilité et tarifsPour vérifier la disponibilité et les prix, veuillez sélectionner vos dates puis cliquez sur "Mettre à jour les dates"
Installations & Politiques Hôtel
- Accueil 24h/24
- Climatisation
- Petit déjeuner non inclus
- Gym
- Taxes non incluses
Politique d'annulationCette propriété a une politique d'annulation de 3 jours. Si vous n'annulez pas dans cet intervalle de temps, vous devrez payer des frais d'annulation du montant de la première nuit de votre séjour.
Infos à connaître sur HotelCette propriété dispose de conditions générales spécifiques.
We will contact you after booking to provide the CVC code to complete your booking. Failure to provide this may result in your booking being cancelled.
**Tax not included in rates shown and will be added to the balance upon arrival**
ItinéraireVoir le planCacher la carte
From Orlando International Airport:
Take North Exit 528 West Beach Line Expressway
Take I-4 East to Sand Lake Road. Exit 74A
Quality Inn entrance is on the left next to McDonalds.


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THE AMERICAN ASSOCIATION OF VARIABLE STAR OBSERVERS 25 Birch Street, Cambridge, MA 02138 USA INTERNET: firstname.lastname@example.com Tel. 617-354-0484 FAX 617-354-0665 AAVSO ALERT NOTICE 262 (August 25, 1999) 1415-68 NOVA CIRCINI 1999 We have been informed by William Liller, Vina del Mar, Chile, and by the Central Bureau for Astronomical Telegrams (IAU Circular 7242, http://cfa-www.harvard.edu/iau/Headlines.html) of Liller's photographic discovery, using the PROBLICOM method, of a nova in Circinus, on August 23.0110 and Aug. 23.0125 UT, at photographic magnitude 7.7. The photographs were taken on Technical Pan film with an 85-mm camera lens and an orange filter. The position of the nova as obtained from CCD frames taken with 0.20-m Schmidt camera on Aug. 23.9717 UT was: R.A. = 14hr 23m 23.6s Decl. = -69degrees 08' 45.1" (equinox 2000) The magnitude measured with a broadband V filter was 7.79 at that time. Liller further reports that nothing brighter than magnitude 11.0 appears at this location on two photographs taken on July 15.99. A low resolution spectrum obtained with the Schmidt, an objective prism, and a CCD, on Aug. 23.9874 UT shows H-alpha in emission at a level ~0.85 times brighter than the intensity of the surrounding continuum. The spectrum suggests that the nova outburst occurred a day or two earlier. Additional observations of N Cir 99 reported to the AAVSO include: Aug. 24.3021 UT, 8.4, A. Jones, Nelson, New Zealand; 24.4222, 7.6, R. Stubbings, Drouin, Victoria, Australia; 24.4396, 7.5, Stubbings; 24.4465, 7.6, Stubbings; 24.4500, 7.5, Stubbings; 24.4528, 7.6, Stubbings; 24.4583, 7.6, Stubbings; 24.4625, 7.6, Stubbings; 24.4681, 7.5 Stubbings; 24.4701, 7.6, Stubbings; 24.4722, 7.5, Stubbings; 24.4771, 7.6, Stubbings; 24.581, 8.1, A. Pearce, Nedlands, Australia; 24.707, 8.7, L. Monard, Pretoria, South Africa; 24.777, 8.8, Monard; 24.790, 8.5, B. Fraser, Sunninghill, South Africa; 24.844, 8.7, J. Hers, Sedgefield, South Africa; 25.459, 8.1, Pearce; 25.501, 8.0, Pearce; 25.538, 8.1, Pearce; 25.937, 8.1, J. Garcia, Buenos Aires, Argentina. Accompanying is a CCD-V image of N Cir 99 obtained by William Liller on Aug. 23.9717. The field measures 27' by 36'. Also accompanying is a "c" scale AAVSO preliminary chart of N Cir 99 prepared by C. Scovil. Please use this chart to observe 1415-68 N Cir 99, and report your observations to AAVSO Headquarters, making sure to indicate which comparison stars you used to make your magnitude estimate. Congratulations to Bill on his latest discovery! FADING OF 1544+28A R CORONAE BOREALIS We have been informed by our observers that R Coronae Borealis, the prototype of the R CrB stars, is fading. R CrB, which is approximately visual magnitude 6.0 at maximum, is reported to be at approximate magnitude 11.4 as of August 24 UT. Observations of R CrB reported to the AAVSO since July 15th indicate that this star began to fade in late July. The last fading of this star occurred in August 1998 - March 1999, during which R CrB faded to visual magnitude 8.4, brightened to magnitude 7.2, faded once again to magnitude 9.6, and then recovered. Fadings of R CrB are unpredictable both in duration and in the magnitude to which the star may fade. Please monitor R CrB closely and report your observations of this interesting star to AAVSO Headquarters. AAVSO "a", "b", "c", "d", and "e" scale standard charts for R CrB have been posted on our ftp site; see below for details. Those needing paper copies of these charts should contact AAVSO Headquarters. UPDATE ON TWO RECENT NOVAE AND AM HERCULIS 1903+12 V1493 AQUILAE (N AQL 99) V1493 Aql was discovered in mid-July at photographic magnitude 8.8 (see AAVSO Alert Notice 261.) Observations reported to the AAVSO indicate that the nova had faded to approximate visual magnitude 12.8 by early August, and then began to slowly brighten. The nova is reported to be at visual magnitude 12.0 as of August 24 UT. AAVSO "c", "d", and "e" scale preliminary charts for V1493 Aql (N Aql 99) have been posted on our ftp site; see below for details. Those needing paper copies of these charts should contact AAVSO Headquarters. 1040-51 V382 VELORUM (N VEL 99) V382 Vel was at approximate visual magnitude 3.0 at the time of its discovery in May (see AAVSO Alert Notice 259.) AAVSO observations indicate that since its discovery the nova has continued to slowly fade. The nova is reported to be at visual magnitude 7.9 as of August 22 UT. AAVSO "aa" and "b" scale preliminary charts for V382 Vel (N Vel 99) have been posted on our ftp site; see below for details. Those needing paper copies of these charts should contact AAVSO Headquarters. 1813+49 AM HERCULIS AAVSO observations indicate that the magnetic variable AM Her is currently brightening from its recent low state. AM Her began fading in May and reached visual magnitude 15.2 in early July. Observations reported to the AAVSO since July 1st show that AM Her remained at its low state until mid-August when it began to brighten. The variable is reported to be at visual magnitude 13.4 as of August 25 UT. AAVSO "b", "d", and "f" scale preliminary charts for AM Her have been posted on our ftp site; see below for details. Those needing paper copies of these charts should contact AAVSO Headquarters. LIGHT CURVES The light curves (through June 1999) of the objects mentioned in this Alert Notice may be plotted on our web site (www.aavso.org) by clicking on "Light Curves" and using the online light curve generator. We are currently processing the monthly reports of observations made in July. Therefore, the July data can not yet be accessed with the light curve generator. Observations which have been reported on a nightly basis since July 1, 1999 can be viewed via our web page in the AAVSO "Quick Look" File. CHARTS AVAILABLE ON AAVSO WEB AND FTP SITES Electronic copies of the N Cir 99 chart, the CCD(V) image of N Cir 99, and the other charts mentioned in this Alert Notice are available through our web site at the following address: http://www.aavso.org The charts may also be obtained directly from our FTP site: ftp.aavso.org (22.214.171.124), in /alerts/alert262) The answering machine at AAVSO Headquarters is on nights and weekends for your convenience. Please call our charge-free number (888-802-STAR = 888-802-7827) to report your observations. We also encourage observers to send observations by fax to 617-354-0665 or by e-mail through the Internet to email@example.com. If you need to change the email address this Alert Notice is sent to, or if you would like to stop receiving the Alert Notice by email, please visit the following URL: http://www.aavso.org/mailinglists.stm Many thanks for your valuable astronomical contributions and your efforts. Good observing! Janet A. Mattei Rebecca Pellock Kerriann Malatesta Director Technical Assistant Technical Assistant
[1] http://www.aavso.org/category/tags/web-publications
[2] http://www.aavso.org/print/1555


text:
Airport Parking is managed by ABM Parking Services.
Contact Site Manager at 864.662.4300
Sky Lots
Level 5 Only
Want to see how GSP parking rates compare to CLT and ATL?
Click here to find out
Reserved Parking is now available at GSP. Click on the link to reserve your space today!
$6 Sky Lot Level 5 Garage Parking now OPEN at GSP!
Cell Phone Parking Lot: Since there is no vehicle parking or waiting curbside, please take advantage of our FREE cell phone parking lot until your party has collected their baggage and has called to let you know they are ready to be picked up curbside. Drivers must remain in the vehicle while waiting in this area. Curbside is available for active loading and unloading only. For directions and more information regarding our cell phone lot please call GSP customer service at (864)848-6200.
Special Note: Thank you for selecting GSP International Airport as your point of departure. We appreciate your business and we look forward to helping make your experience here at GSP as easy as possible. Please be aware that some of our parking areas like the Long Term/Economy lot may fill up faster than others. Should you arrive here to find that your parking area of choice is already filled to capacity, please proceed to one of our other parking areas to find availability at the posted rate.


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Taste of the Eastside, the annual fete that celebrates the restaurants around Los Feliz, Silver Lake, Echo Park, Eagle Rock, Highland Park and beyond. As it has the past couple of years, it takes place at the top of Barnsdall Art Park on Sunday, April 28, with tastes from Little Dom's, L&E Oyster Bar, Pazzo Gelato, Spitz, Mohawk Bend, Good Girl Dinette and many more, and sips supplied by Silverlake Wine, Golden Road, Intelligentsia and Silver Lake Juice Bar. VIP tickets (early entry, demos and tastings) are $65 if you purchase before April 28, $75 at the door; general admission with bar is $50, $60 at the door; regular GA is $40, $50 at the door. Doors open at noon for VIPs, 1 PM for general public.
If drinking too much cheap tequila and eating nachos with bright-orange cheese isn't your idea of celebrating Cinco de Mayo, consider the seventh annual Flavors of LA. The benefit for the American Liver Foundation once again returns to the Loews Hotel in Santa Monica on May 5, gathering a dozen of the city's best chefs, including Nyesha Arrington (Wilshire), Mirko Paderno (Oliverio) and Anthony Zappola (The Royce Steakhouse), to cook a five-course menu for you at your table. The cocktail reception includes bubbly, drinks and oysters from the Oyster Gourmet. Cocktails start at 5:30 PM, dinner at 7 PM. Tickets are $275 per person.


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Celebrating heels & the women who wear them.Return to heels.com
Get award winning style with these super fab booties from BCBGeneration. Pallin comes in a rich black leather with a back zip closure and 4 1/2 inch heel. A taupe faux fur lines the inside top part of the bootie and gives this 3/4 inch platform something to talk about.
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